Metallica – ’72 Seasons’ (Vertigo)

Metallica – ’72 Seasons’ (Vertigo)

Metallica have had a busy time recently; they have picked up a legion of younger Metallifans due to the TV show Stranger Things using the epic Master Of Puppets in a pivotal scene. This thrusted the metal titans into the consciousness of the masses and threw the spotlight onto what we longtime fans have known since the Eighties, that Metallica are the undisputed kings of heavy metal. They have also been busy recording a new opus that finally lands in our sweaty hands today.

A new Metallica album isn’t just a release, it’s an event. The juggernaut that is the Metallica marketing machine does a fantastic job of drip feeding just enough new material in advance of the album release to keep us rabid Metallifans happy until release day. The four tracks that we are now already more than familiar with; Lux Eterna, Screaming Suicide, If Darkness Had a Son, and the title track 72 Seasons are now ingrained into our brains.

The album’s title is explained by James Hetfield as; ‘The first 18 years of our lives that form our true or false selves. The concept that we were told ‘who we are’ by our parents. A possible pigeonholing around what kind of personality we are’. The album consists of twelve tracks and clocks in at 1 hr 17 min. It isn’t an easy listen by any means.  Hetfield’s demons have been well documented with his recent addiction relapse and divorce from his long-time wife feeding into the lyrical content of the album. Musically it’s everything you could possibly want from a Metallica album in 2023. Hetfield sounds amazing, he seems to get better with age. He spits out the lyrics with ferocity, and you know he means every word.

The whole band are pushing themselves here, Kirk Hammett brings back some Kill ‘Em All era soloing which put a smile on this scribe’s face. Lars Ulrich always has his critics, but he does a fine job here grooving, stabbing, and accenting Hetfield’s huge riffs as only he knows how. Forever the new boy, Robert Trujillo (he’s been in Metallica for twenty years) plays a blinder here. His solid groove holding everything together with Ulrich’s kick drum is highlighted beautifully on Sleepwalk My Life Away. You Must Burn chugs along nicely with another monstrous riff. Crown of Barbed Wire has a Sabbath fused riff that has you nodding along from the start. Another highlight is Chasing Light, Hammett using his trademark Wah – Wah to colour the intro before the band kicks in with a pummeling riff. Hetfield really has stretched himself vocally on this album, he sounds fantastic. The album closes with the epic eleven-minute Inamorata.

2023 Metallica is as relevant and important as ever. Thank you for continuing to inspire us, your ever-growing legion of Metallifans.

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Author: Kenny Kendrick

Trespass – ‘Wolf At The Door’ (From the Vaults/Target SpvTrespass)

Trespass – ‘Wolf At The Door’ (From the Vaults/Target SpvTrespass)

Ah, the good old New Wave of British Heavy Metal (NWOBHM). It conjures up such names as Saxon, Motorhead, Iron Maiden, Def Leppard (Yes, them as well), Angel Witch, Diamond Head, Samson, Tygers of Pan Tang, Demon etc. How many of you remember Trespass though? I vaguely remember them being name checked by Lars Ulrich of Metallica a few times (love him or hate him, Lars has helped a lot of those bands out over the years).

Trespass were formed back in 1979 in Sudbury, Suffolk by Mark Sutcliffe (guitar, vocals) and his brother Paul on drums. They only released a few singles and an EP which were critically acclaimed at the time and after a live session on the Friday Rock Show with Tommy Vance the band were included on a BBC compilation Metal Explosion, and they had two tracks featured on the second volume of the Metal For Muthas compilation series.

The band split and reformed in the 90s and finally released a debut album Head. It wasn’t until 2015 that a second album was released and Footprints In The Rock marked a turning point for the band. Their traditional metal sound arching back to the twin lead guitar antics of Iron Maiden, Judas Priest and Thin Lizzy ensured that Trespass found new (and old) fans who were ready to embrace the new revitalised line up.

Jump forward to 2023 and Trespass are ready to let the world hear their latest long player Wolf At The Door. The album features eleven brand new tracks and production was overseen by Nigel Palmer (Raging Speedhorn). The album deals with a plethora of lyrical themes including environmental issues and world affairs and the production is crisp and clear.

Album opener Blackthorn (no its not about cider) is extremely catchy with some quality guitar playing from Mark Sutcliffe and Joe Fawcett. Daggers Drawn is another ear worm with more of that warm sounding twin lead guitar work. Force Of Nature has a Rush like intro that rolls into a riff which has more than a passing resemblance to Rainbow’s Stargazer. Other Worlds has a more melodic feel in the vein of later Maiden. Ghost Pilot is a straight-ahead rocker with a nod along riff and more fantastic playing from the entire band, Sutcliffe has a more than capable voice and sings well here. Back To The Woods has more of a Wishbone Ash vibe to it with a dreamlike quality that really holds the listeners attention. Crooked Cross is another head banger with some tasteful drumming from Jason Roberts.

The album concludes in style with the title track that has a touch of Kings X about it. Trespass have done themselves proud here, this really is a quality slab of traditional metal that will hopefully open more doors for them. The album artwork by Mark Wilkinson (Marillion, Judas Priest, Iron Maiden) is exceptional too.

‘Wolf At The Door’ will be released on LP (black vinyl, limited to 500), CD and digital formats via From The Vaults on May 26th, 2023.

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Author: Kenny Kendrick

Bayaz – ‘Bayaz’ (Fake Chapter Records)

Bayaz – ‘Bayaz’ (Fake Chapter Records)

So a long time ago almost another life pre-pandemic I got to hear a record by a band called Nuclears from the East Coast of America and they had a record that sounded fantastic. Well, during lockdown the main man Mike started another chapter in music with a new band Bayaz after covid pretty much killed Nuclears and some years later we find ourselves here in easter 2023 and a new dawn with a new record. I forgot to mention Mike pretty much has the gift of writing pretty fucking good rock n roll tunes that have catchy hooks riffs n everything that will brighten your day up a notch or two.

This record was recorded in Brooklyn and from the off its a sonic blast off with howling guitars racing off like a wild horse and you have Mike Dudolevitch riding this damn beast trying to tame that Stallion with hooks and melodies twisting and turning on opener ‘Someone Elses Dream’. The dueling guitar solo is a whip crack n smash as the album opener is an exciting song that sets the tone really well.

Don’t be judging just yet because ‘Running’ is a slower beast with some great percussion driving the song on. With a steaming 70s Rock heart beat this is another twist on the opener drilling down on the legacy left by the likes of Thin Lizzy for sure. But hold on to your hat because ‘I Wanna Be Oppressed’ is a snotty slice of glam slammin punk n roll where you get to have the chorus and song title rattle round your head within an instant and trust me it wont let go for a while. Excellently delivered Rock n Roll.

I wouldn’t be doing my job properly if I wasn’t championing records like this. An album you might never ever hve the pleasure of crossing paths withunless you are also down on those crossroads trading your soul for some Rock n Roll. This record continues to twist and turn as it navigates the middle part of an album from the uptempo rockers like ‘Found Money’ as it passes the more laid back deep cuts like ‘Up All night’ and the epic six minute plus workout that is ‘Circle’ that drifts through your speakers fucking with your head as the saxophone blows any cobwebs away as part of what can only be described as an album within an album and all in six minutes, mental.

‘Please Please Please’ just turns the amps up and rocks the fuck out like the spirit of Fast Eddie is with us. ‘Bayaz’ is the name of the band, the name of the album and the name of the penultimate track thats a beast of tune heavy as fuck and smashing it over the first few minutes before fucking with your head like some big cock rock guitar noodle fest. If that didn’t mess your head up enough the band sign off this album with three minutes of Rock n Roll with Little Richard piano and harmonies all over a flamin’ guitar lick ‘Spinning Bird Kick’ is a fine way to sign off a mighty fine record.

Hit the link and go check it out for yourself, Happy Easter rock n rollers heres a gift from me.

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Author: Dom Daley

Ferocious Dog/Mark Chadwick – York, The Barbican – 1st April 2023

Ferocious Dog/Mark Chadwick – York, The Barbican – 1<sup>st</sup> April 2023

Celebrating the release of a 10th anniversary edition of their debut album, Nottingham based Celtic punks Ferocious Dog announced a special one-off gig at The Barbican in York following their appearance at the Scarborough Punk Festival. This unique event would see the band play a 2-hour show including a performance of the whole of the debut album with a full orchestra.

Being veterans of the festival circuit and with a formidable, energetic live reputation, it would seem to be a no brainer to witness this event.

Not only are Ferocious Dog influenced by the Levellers, but they can also call them friends. Both bands have toured together extensively and shared festival stages over the years, so it seems fitting that Levellers frontman Mark Chadwick has offered his services to warm up an already slightly inebriated and rowdy crowd.

Armed with just an acoustic guitar and with a full house watching his every move, he proceeds to have the whole place in the palm of his hands as he plays a 40-minute set of Levellers hits and deep cuts. You could literally hear a pin drop during the opening ‘Liberty Song’, and what follows is not just mini greatest hits set, but also a masterclass in how to work a crowd with ease, not only proving what a charismatic frontman Mark is, but what a great discography the Levellers have.

Having captured the band’s recent acoustic tour I know these songs work well in an acoustic setting, but what I didn’t realise is, stripped of a band and laid bare, how good Mark Chadwick is.

The fluttery folk of ‘The Boatman’ is perfect, ‘Julie’ is as beautiful as the studio version and even the usually upbeat and powerful ‘15 Years’ sounds magnificent given the stripped-back acoustic arrangement.

“Is anyone drunk yet?” Mark hollers to great cheers, he has the crowd where he wants them and they sing every chorus back to him. Classic singles like ‘Just The One’, ‘Beautiful Day’ and ‘One Way’ were always going to go down well tonight, but it was the rousing and emotive ‘Carry Me’ that sent shivers down my spine and got possibly the biggest reaction from a crowd that were on his side before he even played a note. Mesmerising stuff indeed.

With the orchestra in their seats, Ferocious Dog take to the stage to massive cheers, and frontman Ken Bonsall, looking all Peaky Blinders in his white shirt, waistcoat and flat cap, takes to the mic to sing the poetic ‘Verse For Lee’ before blasting into album opener ‘The Glass’. A sense of euphoria is evident from the off, as the whole crowd sings as one. Ferocious Dog class their fans as family and the Hell Hounds, as they are affectionately known, are in fine voice tonight, as the band deliver a high energy set that never falters. The album is played through in sequence and while the orchestra adds an expanse to the sound, this ain’t no laid-back affair. But then you can’t really give the mellow treatment to a song as dancey and upbeat as the instrumental ‘Lee’s Song’, can you?

The band seem to be loving it as much as their fans, bassist Nick Wragg is all over the stage mouthing the words, as is recently reinstated guitarist Kyle Peters, who shares lead vocals on a few songs tonight. Shout out to multi-instrumentalist Sam Wood who shines on banjo and mandolin all night and all so brings a comedy element to the show.

Recently re-recorded single ‘Too Late’ is a live anthem for sure and gets the rowdy down the front dancing. There is no let up in the energy levels from start to finish, except maybe the dub reggae vibes of ‘Freeborn John, and even that erupts into a dancefloor skank.  It’s all killer no filler for an hour.

After a short break the band return to the stage, minus the orchestra, to play another hour set of their standards. Like Chadwick before him, Ken is no stranger to working a crowd and getting audience participation. The likes of ‘Spin’, ‘Broken Soldier’ and closer ‘Slow Motion Suicide’ are crowd favourites that the audience devour like old friends. 

Both artists bought the festival vibes to the Barbican tonight with a special event that will probably never be repeated. The drinks did flow, the songs were sung and there will be a few sore heads and throats in the morning. But you what? It was all worth it. 

Author: Ben Hughes

Buy Ferocious Dog 10th anniversery Here

Jim Jones All Stars, Reverend Beat Man – 30th anniversary celebrations for La Nef, Angoulême, France 01.04.23

Jim Jones All Stars, Reverend Beat Man – 30th anniversary celebrations for La Nef, Angoulême, France 01.04.23

For fans of live music, it’s the same the world over; venues are closing down every month. Here in Angoulême, our small local venue, Le Point Carré, which holds about 120 people, closed down in February. Mercifully, and thanks to France still giving grants to support the arts, La Nef is celebrating its 30th anniversary. It’s a lovely venue which holds up to 800 people, so, while not ideal for upcoming bands, has seen many great artists perform.

Today, 1st April, is an all-day, free event, kicked off by yours truly (as part of our choir). ‘Les Petits Chanteurs À La Gueule De Bois’, or ‘The Hungover Choir’, sing mainly in English. Imagine acapella versions of Muse, Beatles, Nirvana, and even ‘Holiday In Cambodia’. As Harry Hill said, you get the idea.

There were many local bands, but unfortunately due to time restrictions and commitments, I couldn’t watch them all. However, I was able to catch the two, main events. Reverend Beat Man, of garage rock legends The Monsters, entertained and disturbed the capacity crowd in equal measure. Part minimalist garage rock/blues, part warped voodoo priest, he is certainly unique. It was lovely to see some small children right down the front, with ear protectors, who were mesmerised rather than terrified. It’s safe to say people will be talking about his set for years to come.

What can you say about Jim Jones that hasn’t already been said? From The Swamps onwards, he hasn’t put a foot wrong in providing rock n roll with 100% commitment. I left the UK in October 2019, happy that my band had played their final gig supporting The Righteous Mind. I didn’t think I’d get the chance to see the All Stars without travelling to the UK, but here they are, on my doorstep.

The two sax players provide some added swing to the tunes, the joint is jumping, even if I’m the only one who knows the words. Rock n roll is a universal language, from the groin, and the band know exactly what to do. We get some Revue tunes, with Elliott Mortimer pummelling the keyboards, some Righteous Mind classics, ‘Satan’s Got A Hard On For You’ being a particular highlight, ‘Your Voodoo Talkin’, and some choice covers including the Velvets’ ‘Run, Run, Run’.

It’s very pleasing to see the audience reaction, Jim has played Angoulême a few times and this is his biggest crowd so far. He remembers to dedicate a song to the late founder of La Nef, which is the perfect way to end the celebrations. Yes, a righteous time was had, I danced and returned home sweaty and grateful for the healing power of rock n roll. We need it more than ever. If the All Stars are playing anywhere near you, you’d be mad to miss them. Testify!

Author: Brother Martin Chamarette

Catch Jim Jones Allstars somewhere in the coming months you simply have to its the law!

Chris Shiflett/Dea Matrona – Brudenell Social Club, Leeds – 24th March 2023

Chris Shiflett/Dea Matrona – Brudenell Social Club, Leeds – 24<sup>th</sup> March 2023

Being a member of the biggest touring rock band on the planet is a great job if you can get it, but I’m sure it drags at times and maybe certain band members yearn for small sweaty clubs, actually making eye contact up close with an audience and maybe even having to fight for that applause each night.

Chris Shiflett has played guitar in the Foo Fighters for over 20 years now, but he has other things on the go too. Not only has he banged out a bunch of records with Me First & The Gimme Gimmes, but he also has a couple of bad-ass solo albums exploring his country/americana roots.

Riding on stonking new single ‘Black Top White Lines’ from his upcoming 3rd long player, Chris and his band head out on a six date UK tour of intimate venues, stopping off at my favourite venue the Brudenell Social Club in Leeds.

There is nothing better than discovering a great new band live when you are least expecting it, and I rarely research support bands before a gig for that very reason. Dea Matrona are a 3-piece band from Northern Ireland led by Mollie McGinn and Orlaith Forsythe and they have the biggest smiles on their faces tonight.

I guess you could categorise their sound as classic rock with pop leanings. The pair both play guitar and bass, switching instruments between songs, their vocal harmonies are spot on, and the energetic duo pull all the cool rock poses they learnt in their bedrooms watching Zep and Fleetwood Mac videos.

The songs are good too, ‘Stamp On It’ is very commercial, instant with a pumping bass groove, the sultry vocals delivered with voices that sound way beyond their years. The acoustic led ‘Glory Glory (I Am Free)’ is simply stunning. A definite Fleetwood Mac/The Pierces feel that gets everyone’s attention in the room, and I swear you could hear a pin drop for the entirety.

There’s a cheeky Irish charm to the duo, years of hard graft busking the streets of Dublin have paid off and of course playing to a sold-out crowd surely helps, but Dea Matrona were very impressive tonight. Touring the UK through May they are surely ones to watch in 2023.

It’s a sold-out show tonight and there are a lot of Foo Fighters shirts and tattoos on display, but anyone who has come expecting a Foo Fighters song or two will be disappointed. This band isn’t about Chris Shiflett’s day job, this is honky-tonk, low-down countrified americana, best played in bars and clubs and its perfect, utterly perfect.

“I had a feeling this was gonna be a good one” remarks Chris as he tunes up after delivering a salvo of high energy, countrified rock n’ roll. Yes, there is something about this venue that brings out the best in any artist, and tonight is a great example.

Chris, bassist Fox Fagan and drummer Robert Jolly are tight as a duck’s ass and the songs are short, sharp and bloody good. Opening one-two ‘Sticks & Stones’ and ‘Liar’s Word’ sound awesome. The sound is magnificent, the telecaster tone to die for and the crackling energy is classic of the Brudenell.

The 90-minute set covers Chris’ two solo albums ‘Hard Lessons’ and ‘West Coast Town’, new tracks from his unreleased 3rd album and a couple of choice covers thrown in for good measure.

Free of the confines of the Foo’s stadium juggernaut, Chris is chatty, funny and engaging between songs. He tells us of his newfound love of Greggs chicken bakes and his hunt today in Leeds for football shorts while winding up Leeds fans (he is an avid Arsenal fan). It all adds to the feeling of camaraderie the band exudes, but tonight is really all about the songs.

Set highlights for me go to recent singles ‘Black Top White Lines’ and the emphatic ‘Long Long Year’, the yearning country vibes of ‘Blow Out The Candles’ and ‘Room 102’ both sounding like they are lifted straight from the Smokey & The Bandit soundtrack.

There are a few newbies I don’t recall the titles of, but the reggae-tinged ‘Damage Control’ was a standout for sure, Chris even encouraging the audience to film and upload it to socials so they could steal footage to make a video for the next single.

A 3-song encore includeded Mearl Haggard’s ‘Working Man Blues’ and a mighty fine cover of Hank Williams Jnr’s ‘Family Tradition’ with added audience participation,  glorious set closer ‘West Coast Town’ wraps things up nicely.

The fact that this highly enjoyable 21 song set was over in what seemed like a flash is testament to the songs and the delivery of the band tonight. High energy, countrified rock n’ roll has never felt so good.

If this band travels your way, do not miss em! Chris Shiflett and his band just set the marker for gig of the year, who has the minerals to take up the challenge?

Author: Ben Hughes

Ferocious Dog – ‘Ferocious Dog – 10 Year Anniversary Edition’ (Graphite Records)

Ferocious Dog – ‘Ferocious Dog – 10 Year Anniversary Edition’ (Graphite Records)

The fiercely independent Celtic punk collective Ferocious Dog mesh traditional instruments such as fiddle, banjo and mandolin with distorted guitars, punk, ska and folky goodness. They mix politics and music well and have a fiery live reputation that makes them regulars on the festival circuit.

Although the Nottingham based 6 piece have been around since the late 80’s, their debut album was not released until 2013. A debut album born out of tragedy after Lee, the son of singer Ken Bonsall, tragically took his own life in 2012 at just 24 years of age.

With main man Ken having a working class, miners upbringing and taking influence from political artists such as Billy Bragg, New Model Army, and the Levellers, it’s no surprise that the band is a platform to tackle and raise awareness to social issues from history and spread the message of justice and solidarity.

This remastered version of their debut album comes packaged with a second disc recorded live at Leeds O2 Academy last year, with the addition of a 6-piece orchestra.

Ferocious Dog have a habit of leading you into a false sense of security with a mournful fiddle introduction, a wistfully picked mandolin, or a strummed acoustic chord progression before they take things up several notches. For there is as much power in their music as there is in the lyrics. This debut album doesn’t leave much room for balladry, the emphasis is on passion, anger and the themes of liberty and justice for all.

Opener ‘The Glass’ documents Lee Bonsall’s last day on earth, yet musically is an upbeat and euphoric blast of Celtic punk. It rides on a cool banjo riff to an urgent rhythmic backing and is as anthemic as anything I have heard in recent years, a perfect album opener and a perfect introduction to Ferocious Dog.

Yes, the Levellers comparisons are justified, but there is a bit more to Ferocious Dog than that. There are raucous upbeat drinking songs such as the instrumental ‘Lee’s Tune’ and the classic fan favourite ‘Hell Hounds’ that are fantastic examples, but elsewhere, there are dub vibes on the likes of ‘Freeborn John’ and heavy ska influences in the excellent ‘Pocket Of Madness’. There is also traditional folk, ‘Paddy On The Railways’ is as close to the Pogues you can get without having a whiskey with Shane McGowan.

Mixed and mastered superbly by Al Scott, who brings out the best in the songs especially the vocal department, ‘Ferocious Dog’ is as fresh and vibrant as the day it was released and lyrically it probably means even more in these trying times.

If you are already a fan or have even just caught Ferocious Dog live in the past 10 years, then the real gem of this release lies in the bonus disc, a full gig recorded at the O2 Academy in Leeds last year with a 6-piece string section. A full set of their songs reimagined with a different, orchestral soundscape.

Opener ‘Landscape Artist’ lets the listener know that this is not to be a laid-back affair. The mass of strings weave their magic over the melodies and Ken’s raw, but perfectly delivered vocals.

Stripped of electric guitars, the folk inspired ditties lose none of their power, in fact as with other orchestral rock albums of the past (Metallica for example) it adds a cinematic depth which can be just as powerful as a bank of Marshall stacks.

The strings amplify the emotion in the beauty. The likes of ‘A&B’ and ‘Justice For 96’ benefit immensely and the euphoria created in ‘Broken Soldiers’ will make the hairs on the back of your neck stand to attention.

Ken Bonsall’s loveable charm as a frontman comes across well, and his ability to engage with his audience is second to none, even teasing the local crowd to a ”Yorkshire, Yorkshire!” chant.

The addition of a new studio recording of ‘Too Late’ is tagged on at the end for good measure.

If you are a longtime Hell Hound or a curious Furious Dog virgin, there is much to enjoy in this 10th anniversary edition. A debut album that is as urgent and vital as the day it was released, backed with a document of a magical evening in Leeds that may make you check out why this band have a great live reputation.

Author: Ben Hughes

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The Courettes – Set to Rock the UK

The Courettes – Set to Rock the UK

Although The Courettes planned to have a much quieter 2023 while they work on the follow up to 2021’s sensational ‘Back In Mono’ LP, it’s almost impossible for this incendiary garage rock duo to resist the lure of the stage and the band have been working harder than ever. Fresh from kicking up a storm at SXSW, The Courettes are currently touring Europe and are set to arrive in the UK early next month for a string of live shows that will not disappoint!

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Lucifer Star Machine – ‘Satanic Age’ (The Sing Records)

Lucifer Star Machine – ‘Satanic Age’ (The Sing Records)

We go back to the early days of Lucifer Star Machine, when they were part of the burgeoning London underground, kicking up a shit storm with some uncompromising punk rock n roll that had a fuck you attitude and wouldn’t compromise for anyone. Then frontman Tor moved base to Germany and tweaked a few things here and there and got a lineup that was all on board with the direction of travel LSM was heading in and kaboom! things were on the up. Lucifer Star Machine, the infernal Action Punx still take no prisoners but somewhat softened the rough edges making them more accessible to a wider audience to be fair put more effort into the songs they were playing whilst still uncompromising and still doing it their way the songs sounded much better – stronger and longer lasting. They were no longer burning the ground up behind them they were delivering the goods but taking people with them the scorched earth policy was more engaging and wider reaching and has led the band to ‘Satanic Age’ head and shoulders their best collection of songs to date.

This their fifth full-length album, the band have always been an uncompromising band of brothers cut from the same cloth as your Motorheads or your Hip Priests but what they have done over the years is evolve their sound and Tor has seen the worth of not churning out the same record every few years and introduced more melody for an all-round set of catchier Punk’n’Roll but still with a heap of fuck you attitude.

This bad boy is offering up thirteen tunes spinning on their middle finger digit and boy I think it might just be their finest hour.

As well as the harder edge influences you have the melody of the Misfits and Ramones. It’s down n dirty, reckless and a lot of fun. From the haunting opening spoken words it’s the no nonsense of ‘Satanic Age’ Imagine The Misfits covering Turbonegro using Motorheads gear and you’re in the fun zone right there.

“Satanic Age” was produced by guitarist Mickey Necro and frontman Tor Abyss, who have written the album during the downtime of the pandemic and nailed exactly how this should go down giving every instrument enough room to breathe and ferment. It also has the unmistakable sound of guest vocalist Marc “Sparky” Phillips of Demented Are Go and Kit Swing of London outfit Seven Days And Doesn’t Die.

Sparky guests on a runaway train of a track with a massive rolling riff scuffing along like prime-time Marilyn Manson if he rode a dirt bike and not a limo. The punk is turned up for the ferocious potty-mouthed ‘Cunt Of Destruction’ but hold onto your trousers because the circle pit is getting bigger and faster for ‘Black Axe’ and Tor and the boys aren’t taking prisoners.

I pause for a breath then they pick me up with the boogie of ‘I Wanted Everything’. The lyrics are standard and on tunes like ‘Censorshipped’ you know they aren’t taking any prisoners not that bands like Lucifer Star Machine give a flying fuck you might want to wear headphones around your nan.

Fingers are flying on ‘Purgatory Souls’ as the Machine sets the fretboards on fire and dashes to the finish line with one of their most brutal sprints ever. this album is uncompromising and delivering on everything you want in this messed up crazy world we live in this is the soundtrack as everything around us burns.

As we head into the home straight the devil horns are raised for the hard-rocking ‘Hard Luck Mary’ where Kit Swing adds some light to the shade or is it adds more shade to the darkness. Whichever way it is this is some mighty fine hard rock. I love the filthy bass line on ‘Live Another Day’ as it swirls into action gargling away as the song is ripped open and that circle pit-inducing tempo bleeds out of the speakers.

There is no doubt that this is the finest album thus far from Lucifer Star Machine, they have effortlessly moved through the gears over the years to this point and have carved out their niche and turned in an epic set of tunes that showcases the finest side of this punk n roll action rock or whatever you want to call it these days. If you pass over this record then I can’t help you this is a must-own slab of wax that will burrow into my head as all fine earworms do. If this is the satanic age then Hell yeah I’m all in – Hail Lucifer Star Machine they fuckin’ Rock!

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Author: DomDaley

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Various Artists – ‘Turbonegro Must Be Destroyed’ (No Label)

Various Artists – ‘Turbonegro Must Be Destroyed’ (No Label)

Limited to 1000 copies and released in May ‘Turbonegro Must Be Destroyed’ is a wholly independent release for one of the finest underground Punk Rock Garage bands ever to grace the earth. Not many other punk rock band, that never was part of the mainstream, left such a footmark like Turbonegro did. Bars in Mexico and Spain are named after the band. The Turbojugend, the fan club of the band, is only comparable with the fan clubs of old rock giants such as Motorhead or Kiss with as many hipsters wanting the levi denim with their name on it as genuine lovers of the band and boy are the Turbojugend a loyal lot.

There have been many tribute records made so why not another one from a bunch of bands many of us are familiar with and some new ones no doubt? In the very best DIY manner, this album is not released by a label and will be distributed by the bands only. The drawings of Hank and Tony on the sleeve have been made by Warren Mancini, a tattoo artist from the USA. The layout has been created by Javier Villalpando. Javier already created the TUR30NEGRO lettering for the band’s 30th anniversary in 2019. So who and what’s on it?

Familiar to regular readers will be the likes of Christmas, The Dwarves, Stacy Crowne & Scumbag Millionaire. Opening up the album is a truly brutal “knocked out of the motherfuckin’ park” take of ‘I Gotta Knife’ from the zero fucks given combo that is Christmas. A band that got what Turbonegro was all about and carried the very same DNA coursing through their veins. That’s how to open a tribute album and make the listener sit up and pay attention. Bosh! job done.

How to follow that up? Ah, I know Scumbag Millionaire. Yup, ‘Just Flesh’ is a clap of thunder that scorches your speakers. Taking the spirit of the song and turbocharging it to the max. This is sounding like a top tribute already and we’re only two songs deep. I reach for the volume this deserves to be turned up louder as a sleazy ‘Du Mongo’ makes my skin crawl for all the right reasons as its creepy crawl through my speakers. Hang on it’s The motherfuckin’ Dwarves putting their sleazy slap on ‘Blow Me (Like The Wind)’ like only the Dwarves know-how. Dripping in sex appeal and slithering through the broken glass floorboards of some damp dark dungeon this is a blast and exactly how a tribute album should roll.

Notable bands I’ve not heard before would be CatEater taking on ‘Hurry Up And Die’

Stacy Crowne gets the tone spot on for their romp through ‘Humiliation Street’ getting the thin line between Street Punk and big glorious Glam Rock. I am quietly glad the bands stayed away from a lot of the big-ticket turbo tunes and went for deeper cuts. I know there are a lot of top trumps with cult bands seeing who can pick the most obscure to cover but I don’t think that’s the case here the songs are treated with the right amount of respect and bands have taken ownership in their styles which is fantastic.

‘Selfdestructo Bust’ from Alarmstufe Rot is a riot whilst Deviltrain walks on the sleazy wild side with ‘Rendezvous With Anus’. Syff takes a buckin’ bronco ride on the frantic smasher that is ‘Prince Of The Rodeo’ delivered with an air of “have some of that” and in keeping with the rest of this album is a top turn. Hell even Christmas main man Max delivers a sleazy ‘Everybody Loves A Chubby Dude’ Feed Me Feed Me, Feed me more of this more like, inject this sleazy punk rock right into my bloodstream.

The Dogs dish up a romping ‘Armed And Fairly Well Equipped’ with parping keys added to the thuggish riff for good measure. Finally signing off this monumental tribute is a Schreng Schreng & La La with a Haunting ‘Sailor Man’ in the style of Johnny Cash and his American recordings style twisting your Mellon in true Turbo style.

Listen, I know there will be detractors of tribute albums but Turbonegro was way out there with the greats of the underground and the original lineup with Hank was a very special band to many many people the flame will be kept burning as long as bands like these keep rolling out records as good as this one. Get it, listen to it, investigate the bands that deliver the goods and then bow down to Turbonegro and all who sailed in her for they were an exceptional band and they spawned many fine bands who followed in their footsteps and continue to do so. Buy It! Then check out the bands who make this such a great record they deserve your support.

Pick it up Here

Author: Dom Daley